Gallery soso catalogue by Gallery SoSo

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Contents

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Introduction

Byung So CHOI

Eull KIM

Hai Young SUH

Hyung Gwan KIM

Kiwon PARK

Seung Un CHUNG

112

Yun Soo KIM

128

Zu Young CHUNG

146

SoSo Exhibitions

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introduction

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Architect Sam Yeong CHOI He strives to reconfigure the precious traditions of Korea into a modern paradigm and artisanship. Hoping to imbue happiness and hopes for people through architecture, he passionately endeavors in eco-friendly wooden architecture projects, serving as the head of KAWA DESIGN GROUP. His iconic works include Seongdong-gu Senior Welfare Center, Deokyang-gu Office, Minmaru Housing I, Gapyeong Bazaul Housing I, Dongbaek Apelbaum Housing Complex, RED SCHOOL, gallery SoSo. He was awarded the Grand Prize at the Korea Architecture Award, Grand Prize at the Korea Wooden Architecture Contest, Best Prize at the Korea Civil Engineering and Architecture Technique Awards, and 2003 and 2010 Arcasia Award Gold Medal.

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hun

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The design of gallery SoSo was intended to induce a close dialogue between architecture and the nature via a path on a sloping land consisting of artificially forested pitch pines and miscellaneous trees. The idea behind the gallery was that it must be planned and built in full consideration of the nature and harmony with the existing order of nature, selecting a technique of economical construction that does not dominate the surrounding environment with a light and modest landscape in a modest and elegant manner. Gallery SoSo is a small-scale architecture as a gallery consisting of a concrete structure and a wooden one. The wooden structure, in particular, was designed as a rahmen structure where the connected part between the barrage and the columns was combined into multi nodes of steel. The office building and the first floor of the gallery building whose two planes are embedded into land except for the entrance plane were constructed with concrete as the basis to make a harmony between the two buildings. 1F and 2F of the gallery building are unified as the concrete wall and the wooden rahmen column intrude each other’s space. The entrance gate is a path that heads towards a forest that flows between the two buildings. On the upper deck lies a sense of joy between the forest, an illusion reflected on the existing garden of forest and the gallery window. The gallery is connected through stairs that humbly accept to the slope of the nature, and the bridge that one encounters after looking around the exhibition, walking around the wooden rahmen forest conveys a message of harmony imbued by the nature and the architecture.

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Byung So CHOI

1943

Born in Daegu, Korea

Education 1974

B.A.F College of Art, Jung-ang University, Seoul, Korea

Solo exhibitions 2012

Daegu Museum of Art, Daegu, Korea

2012

Gallery IBU, Paris, France

2011

Culture and Art Center, Daegu, Korea

2010

Gallery aso, Daegu, Korea

2010

Gallery 604, Busan, Korea

2009

Han Kisook Gallery, Daegu, Korea

2008

Gaain Gallery, Seoul, Korea

2008

Bongsan Culture Center, Daegu, Korea

2006

Gallery M, Daegu, Korea

2005

Gallery IBU, Paris,France

2003

Ci-Gong Gallery, Daegu, Korea

2002

Space 129, Daegu, Korea

1997

Ci-Gong Gallery, Daegu, Korea

1979

Muramatsu Gallery, Tokyo, Japan

1978

Seoul Gallery, Seoul, Korea

Selected Group Exhibitions 2011

Depaysement-blooming the city, Arko Museum of Art, Seoul, Korea

2011

Qi is Full-Drawing Yi, Daegu Museum of Art, Daegu, Korea

2010

Invisible window, yfo gallery, Daegu, Korea

2009

Joint Show, yfo gallery, Daegu, Korea

2009

Pulse New York, Hudson River Park, New York, USA

2008

Gyub, Gallery SoSo, Paju, Korea

2008

Inter-viewing painting, Soma Museum of Art, Seoul, Korea

2002

Age of philosophy and Aesthetics, National Museum of Contemporary Art, Seoul, Korea

1999

Looking at the Alchemy of an age, Busan Museum of Modern Art, Busan, Korea

1996

Development of Korean Modernism, Kumho Museum, Seoul. Korea

1996

Korean Drawing Now, Brooklyn Museum, New York, USA

1980

Impact Art Festival, Kyoto Museum of Art, Kyoto, Japan

1979

Sao Paulo Biennale, San Pauloo, Brazil

1977

Korean contemporary painting, Museum of History, Taipei

1977

Korea: A Facet of contemporary Art, Central Museum of Art, Tokyo, Japan

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Untitled Newspaper, ballpoint pen, pencil, mirror, 640x200cm, 2009

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Untitled Paper, ballpoint pen, pencil, 240x81x542cm, totalsize 1020x81cm, 2012

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Untitled Newspaper, ballpoint pen, pencil, 240x81x542cm, 2011 (detai)

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Untitled Paper, ballpoint pen, pencil, 240x81x542cm, totalsize 1020x81cm, 2012 (installation view)

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Untitled Newspaper, ballpoint pen, pencil, dish, 45x45x17cm, 2005

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Untitled Paper, ballpoint pen, pencil, 240x81x542cm, totalsize 1020x81cm, 2011

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Untitled Paper, ballpoint pen, pencil, 240x81x542cm, totalsize 1020x81cm, 2011 (detail)

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Untitled Book, ballpoint pen, acrylic box, 31×23×20cm, 2012

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Eull KIM

1953

Born in Goheung, Korea

Education 1989

M.F.A. Jewelry Design, Graduate school of industrial Arts, Hong-ik University, Korea

1981

B.F.A. Metal Craft, WonKwang University, Korea

Selected Solo Exhibitions 2011

Cow, Chicken, Dog, Pictures, Gallery SoSo, Paju, Korea

2010

So Here... Is There a Bird?, Space Gong Myung, Seoul, Korea

2009

Tears, SPACE CAN, Seoul, Korea

2008

Kim Eull Drawing; Tear, Ga Gallery, Seoul, Korea

2007

Miscellaneous Painting II, Gallery Noon, Seoul, Korea

2006

Drawing is Hammering, Take Out Drawing, Seoul, Korea

2006

Miscellaneous Painting, Gallery Ssamzie, Seoul, Korea

2005

Kim Eull Painting & Drawings, Baik Hae Young Gallery, Seoul, Korea

2004

Kim Eull Drawing 2004, Gallery Fish, Seoul, Korea

2003

Kim Eull Drawing 2003, Gallery Fish, Seoul, Korea

2003

Kim Eull Drawing 2002, Gallery Doll, Seoul, Korea

2002

#265 Ok ha-ri, Project Space SARUBIA, Seoul, Korea

2001

This and That Mountains, Gallery Savina, Seoul, Korea

1996

Self-Portrait, Kumho Gallery, Seoul, Korea

1994

Kim Eull, Kumho Gallery, Seoul, Korea

Selected Group Exhibitions 2011

Ahn-Nyung/ Hello, Le Basse Projects, LA, USA

2009

Layered City, Artside, Beijing, China

2009

Big Boys, Andrewshire Gallery, LA, USA

2009

scape of misunderstanding, Zaha Museum, Seoul, Korea

2008

Art in Daegu2008 Uprising of the Images, KT&G, Daegu, Korea

2008

POP&POP, Sungnam Cultural Center, Sungnam, Korea

2007

Gyeonggi, National Highway NO.1, Gyeonggido Museum of Art, Ansan, Korea

2006

Persistent Drawing, Gyeonggi Cultural Foundation, Suwon, Korea

2006

Thump, Gallery Noon, Seoul, Korea

2006

1 Hundred Years of Korean Art, National Museum of Contemporaly Art, Kwachun, Korea

2006

Drawing Energy, Arko Art Center, Seoul, Korea

2006

Drawn to Drawing, SOMA Museum, Seoul, Korea

2005

The play between, Andrewshire gallery, Arena 1, LA,USA

2004

Rolling space, Marronnier Art center, Seoul, Korea

2003

REAL-SCAPE Revisited, National Museum of contemporary Art, Korea

2002

Self-portrait of Korean Art, Sejong Center Museum, Seoul, Korea

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Cow, Chicken, Dog, Pictures The phrase seems somewhat disrespectful, but for me it is a precious enlightenment. It is a gathering of peers in the same level. They are all close to people, giving benefit and pleasure... Particularly, since the cow, chicken and dog are living creatures, however great it may be, the picture seems to be the lowest in status. (Pictures have become overly arrogant... Perhaps they need to be taught a lesson.) (Note: picture = artistic creation)

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Untitled Found wood box, steel, bronze, cement, 3 drawing books, paper, acrylics, 33x23x15cm, 2010

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Untitled Mixed media, 46x62x17cm, 2010

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Untitled Found wood box, wood, acrylics, 32x28x23cm, 2010

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Untitled Mixed media, 33x50x19cm, 2010

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Discovery Wood, oil on canvas, found object, 79x55x16cm, 2011

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Discovery Artist made wooden furniture, oil on canvas, found object, 215x122x46cm, 2011

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Untitled Artist made wooden furniture, found object, fabric, oil on canvas, 93x125x15cm, 2011 Untitled Wooden box, found object, oil on canvas, 71x47x16cm, 2011 Untitled Artist made wooden furniture, found object, fabric, oil on canvas, 93x125x15cm, 2011 (installation view)

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Untitled Water color on paper, 32x24cm, 2011

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Untitled Water color on paper, 32x24cm, 2011

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Untitled Mixed media, 71x22x16cm, 2010

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Untitled Water color on paper, 24x32cm, 2011

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Hai Young SUH

1968

Born in Seoul, Korea

Education 1991

B. F. A in sculpture, Ewha Womans University, Seoul

1995

M. F. A in sculpture, Accademia di belle arti di Brera, Milano, Italia

Solo Exhibitions 2010

Gallery SoSo, Paju, Korea

2007

Kumho Museum of Art, Seoul, Korea

2003

Gallery IHN, Seoul, Korea

2002

Space SADI, Seoul, Korea

2002

Gana Art Center, Seoul, Korea

2001

Total Museum of Art, Jangheung, Korea

2000

Window Gallery, Gallery HYUNDAI, Seoul, Korea

2000

Gallery IHN, Seoul, Korea

1996

Gallery BODA, Seoul, Korea

Selected Group Exhibitions 2010

Clayarch Museum, Gimhae, Korea

2004

Wall Works, C.A.I.S gallery, Seoul, Korea

2002

Three Young Artist from Korea, MDS Gallery, Tokyo, Japan

2002

Neo Painting, Youngeun Museum of Contemporary Art, Kwangju, Korea

1995

Palazzo Arengario, Monza, Italy

1995

salon 95‘ Accademia di Belle Arti di Brera, Milano, Italy

1990

New Form, Gallery Yoon, Seoul, Korea

1990

4th Sea Art Festival, Busan, Korea

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“Bricks - the Interface of Phenomenal World and Place” The artist Suh Haiyoung presents works inspired by scenes from the real life. In her most recent works we find her studying bones--she shaped fragmented skeletal structures such as bones of the finger, toe, rib and clavicle using resin--perhaps in her search for the very root of art. We also find her creating various forms and structures with bricks, the most typical and smallest unit composing urban buildings. Taking this brick motif to another level, she places it in the context of a temporal and spatial concept, utilizing it to structure an installation, or as an object, or employing it in diverse art forms such as video and painting. These efforts have produced signs and linguistic images that constitute the space in which we lead our lives. With bones as objects, Suh’s approach was primarily conceptual. As she transitioned to the brick motif, her focus shifted to the phenomenology of spatial forms. In these endeavors Suh appears to be exploring the way we perceive things, while minimizing the interference of her subjectivity in the effort. She started off with a conceptual approach (1995-1996), after which she experimented with form and structure (1997-2003). She then returned to the two-dimensional plane, interpreting her object with a focus on the place (2004-2007). Most recently her theme is the everyday space of life, and she is now in the process of revising her interpretations and creating layers of them for a special overlapping effect (2008-2010). Over the course of 16 years, numerous contexts and views had emerged and were understood from a perspective that was current at each point in time. They now form layers independently or are combined with others in the places in which they are remembered. These times stored in memory are in a way like individual acts in a play or the curtain that closes and opens to signal the change of scene. They also seem like a thin film, each when lifted leads to new perception. These moments will unfold like an unrealistic space that exists only as a function of one’s subjective interpretation. The bricks, which were seen as the visual corridor between the secret room and the open square, serve as the interface between the two different spaces. Seen from afar, the bricks generate a mysterious aura like a film of halftone dots. Suh’s bricks were taken out of the buildings they were part of and flown behind the curtains that are drawn in the back of the plane. The moving in and out and back in, or the alternation of inhalation and exhalation builds itself with time into a theatrical panorama. The sub-themes of this drama are: Fiesta for Nocturn 1 & 2, <Borders to Movement 3>, A Square, A Shot of Cogitation 3, A Garden in Ruins, and Dormant Dialogue. Each theme is composed of what the artist has seen and/or felt as she commuted between her home and studio everyday. Each fleeting yet memorable scene is recorded on the artist’s body like a diary, leaving traces that pile up layer after layer. The scenes in and of themselves are quite mundane. The images of flowers, people, squares, libraries, roads, mountains, and buildings are metaphorically translated onto a canvas, a place, or another dimension of the curtain to build a site-specific structure. Place, in this context, symbolizes the response to deficiency that exists in today’s society and space. The Curtain is the relationship that cohesively holds together the outcomes and the simultaneity of what is happening here and now. The canvas that serves as a platform for the Place and the Curtain is itself the phantom emerging from that 0.2cm thickness and its stage, the artist’s body and the wall all at the same time. In this Curtain, the vanishing point has been split and deconstructed, its fragments hiding on the other side of the Curtain. The pictorial plane serves as an important medium. It connects two or three points in space in a plausible way and invokes a specter of an unnatural place she pursues. There is visible irony in juxtaposing in a single place seemingly random objects that are both familiar and strange. She has also imbued a sense of consistency in what is site-specific by the use of the Curtain and the Film. The two layers are intertwined and can invoke all spaces and phenomena Suh may have perceived. As expressed in Fiesta for Nocturn 2 and A Garden in Ruins, the point at which time and place freezes is in the other world where one may go on imagining about the next Act and the next Chapter. Suh Haiyoung has laid out for our enjoyment a phantasmagoric world consisting of layers and layers of a life peaceful, quiet and mundane. We need only to accept the invitation. Kwan Hoon LEE, Curator Project Space Cafe Salvia

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Space_ less Masking tape, variable size, 2001

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A garden in ruins Graphite pencil, acrylic on canvas, 130cm x194cm, 2010

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Dormant dialogue Graphite pencil, acrylic on canvas, 130x194cm, 2010

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Fiesta for nocturn 2 Graphite pencil, acrylic on canvas, 310x480cm, 2010

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A border for traveling Graphite pencil, acrylic on canvas, 310x510cm, 2010 (installation view)

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Isola I E.V.A, variable size, 2011

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Colone I E.V.A, variable size, 2011

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Isola I E.V.A, variable size, 2011

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Hyung Gwan KIM

1970

Born in Seoul, Korea

Education 2006

M.F.A. Fine Arts, Goldsmith College, London, UK

1998

M.F.A. Paintings, Graduate School, Seoul National University, Seoul, Korea

1995

B.F.A. Paintings, Visual Arts Department, Seoul National University, Seoul, Korea

Solo Exhibitions 2012

LIGHTHOUSE, Gallery SoSo, Paju, Korea

2010

Long Slow Distance, Vit Gallery, Seoul, Korea

2010

Long Slow Distance, Gallery Bora, Seoul, Korea

2009

Afterglow, Gallery SoSo, Paju, Korea

2008

Long Slow Distance, Gallery Noon, Seoul, Korea

2008

Long Slow Distance, Korea Art Center, Busan, Korea

2007

Long Slow Distance, Toilet Gallery, London, UK

2007

Long Slow Distance, Gallery SoSo, Paju, Korea

2007

FOuR PAINTINGS, sadi Window Gallery, Seoul, Korea

2004

Void of Representation, Hanjun Plaza Gallery, Seoul, Korea

1996

Drawings and Photographs, Yoon Gallery, Seoul, Korea

Selected Group Exhibitions 2012

Tagging Art Works, Gyeonggi museum of modern art, Ansan, Korea

2009

Artist Gallery- Fleeting, SNU Museum, Seoul, Korea

2009

Drawing of the world, world of drawing, SNU Museum, Seoul, Korea

2009

Emotional Landscape, Pochun Art Vallery, Pochun, Korea

2006

Degree Show, Goldsmith College, London, UK

2006

Zenith 06, Nomoregrey Gallery, London, UK

2006

George Polke Invites, George Polke Gallery, London, UK

2006

Still Dynamics, Jerwood Space Gallery, London, UK

2006

Nocturnal, Sarah Myerscough Gallery, London, UK

2004

Still-Life, Ilmin Museum of Art, Seoul, Korea

2002

Inter Project-Symbiosis, Inchon Culture Center, Inchon, Korea

2002

Private Narratives, Pusan Metropolitan Museum of Contemporary Art, Pusan, Korea

1999

21C New Frontier, Samsung Plaza Gallery, Sungnam-Si, Korea

1999

Korean Contemporary Art–Trends in the 90s, Ellen Kim Murphy Gallery, Seoul, Korea

1998

Young Korean Artists 98, National Museum of Contemporary Art, Kwachun, Korea

1998

The Retina and The Sense of Touch, DongA Gallery, Seoul, Korea

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It is with great pleasure and privilege that I introduce the paintings of Hyung Gwan KIM, in this exhibition of his work at the Toilet Gallery, Kingston, London. I first saw Hyung Gwan KIM’s work at the private view of his MA Fine Art degree show at Goldsmiths College, London, in the summer of 2006. It was a close, sultry night, exacerbated by the chaos and scrum of crowd. In a quiet room, I discovered his work, which appeared like an oasis of calm amidst the hustle and bustle of the crowd. The work stood out for it’s maturity and meditative quality and immediately invoked a sense of calm. Amongst the oppressive atmosphere of the private view, his paintings appeared powerfully with a quiet sense of conviction. Not quite figurative, nor abstract, Hyung Gwan KIM’s paintings presented a sense of ephermerality yet familiarity to the viewer. Hyung Gwan KIM’s work embodies the often-precarious status and value of the image in our visual culture. We are continually bombarded by visual imagery that is relentlessly disseminated through various forms of digital and mass media and as one processes the gamut of images the meanings and referents that they carry get blurred. Perceptions of what is experiential or simulated become indistinguishable; have we experienced that or did we imagine it happening? Hyung Gwan KIM’s work echoes this blurring of referents and associations within the image. His paintings present familiar yet unclear images that evoke a shadowy reminiscing of the past. Hyung Gwan KIM speaks of how every Spring a strong sandy wind travels from China to Korea, and obscures the landscape distorting ones vision and perspective, like a sand storm. The landscape appears like an intangible dream yet one perceives it to exist. In his current works, he explores the transience of imagery, of intimating at the familiar, yet allowing the viewer to interpret the image’s meaning, demanding a recall of ones own visual memories and perceptions. Hyung Gwan KIM reminds us that amidst the chaos of our modern condition, memories serve to remind us of our own temporal existence, and that like the sandy storms from China, we too exist fleetingly in the consciousness and vision of others. _ Caroline Alexander, Trustee/Co-curator, The Toilet Gallery, Kingston, London

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Long Slow Distance 1002 Oil on linen, 100x73cm, 2010

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Long Slow Distance 1005 Oil on linen, 117x91cm, 2010

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Long Slow Distance 1010 Oil on linen, 50x73cm, 2010

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Long Slow Distance 1023 Oil on canvas, 97x145cm, 2010

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Long Slow Distance 1026 Oil on canvas, 162x130cm, 2010

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LIGHTHOUSE 008-3 Acrylic on canvas, 191x162cm, 2012

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LIGHTHOUSE 008-1 Acrylic on canvas, 148x148cm, 2012

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LIGHTHOUSE 011-1 Acrylic on canvas, 91x91cm, 2012

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LIGHTHOUSE 010 Acrylic on canvas, 91x91cm, 2012

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LIGHTHOUSE 007-1 Acrylic on canvas, 91x91cm, 2012

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Kiwon PARK

1964

Born in Cheongju, Korea

Education 1989

B.F.A. in Western Painting, Department of Art Education, Chungbuk National University, Korea

Selected Solo Exhibitions 2010

Artist of the Year 2010 - Who’ Afraid of Museums?, National Museum of Contemporary Art, Korea

2009

Floating, Miki Wick Kim Contemporary Art, Zurich, Swiss

2008

Friction, Space Gallery, Seoul, Korea

2006

Light Weight, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain

2006

Ruin, Arko Art Center, Seoul, Korea

2004

Warmth, Cigong Gallery, Taegu, Korea

2002

Level, Garam Gallery, Seoul, Korea

1997

Sense, Center for Contemporary Photography, Melbourne, Australia

Selected Group Exhibitions 2012

Dansaekhwa Korean Monochrome Painting, National Museum of Contemporary Art, Korea

2011

Artist of the Year 1995-2010, National Museum of Contemporary Art, Korea

2011

Welcome to my World, AAIPS, Seoul, Korea

2011

Internal Angle, Gallery SoSo, Paju, Korea

2010

2010111120110111, Ggooll, Seoul, Korea

2009

Beginning of New Era, National Museum of Contemporary Art, Seoul, Korea

2009

100Daehangro, Arko Art Center, Seoul, Korea

2008

Contextual Listening, Mongin Art Center, Seoul, Korea

2008

Layer, Gallery SoSo, Paju, Korea

2007

Void in Korean Art, Leeum Samsung Museum of Art, Seoul, Korea

2006

Drawn to Drawing, Soma Museum, Seoul, Korea

2005

The 51st Venice Biennale, The Korean Pavilion, Venezia, Italy

2004

Rolling Space, Marronnier Art Center, Seoul, Korea

2003

75cm, Project Space SARUBIA, Seoul, Korea

2000

Design or art, Design Museum, Seoul, Korea

2000

Special Exhibition, Kwang-Ju Biennale, Kwang-Ju, Korea

1999

Ventilate in the Breeze, Wonseo Gallery, Seoul, Korea

1999

Dangerous show, Sal Bar, Seoul, Korea

1998

Brushed Non-brushed, Sai Gallery, Seoul, Korea

1998

The Reversion of Drawing, Whanki Museum, Seoul, Korea

1997

New Forms from Ancient Traditions, Joseloff Gallery, Hartford, USA

1996

Attention to the Artists, Dong-ah Gallery, Seoul, Korea

1995

Special Exhibition, Kwang-Ju Biennale, Kwang-Ju, Korea

1993

The New Generation Tendency in Korean Contemporary Art, Fine Art Center, Seoul, Korea

1992

From Concept to Essence, Kum-ho Museum of Art, Seoul, Korea

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Introduction of the Artwork Painting works of the ‘Width’ series are geometrical colored painting works. Situations of certain space within a space observed in various perspectives are broadly divided into some planes, which were formed after repetitions of small lines heading different directions. The flow of the colors are reminiscent of the ‘Four Seasons’ in the nature, connected in ‘green’, ‘blue’ and ‘brown.’ These painting works are projected as a large single colored plane, and a close look reveals the overlap of the separated planes and accumulated lines. This form of paintings represents interest in place, empty space and circularity on a two-dimensional plane. This is necessary to play the role of the landscape deeply imbedded in audience and the place. The painting works of ‘Width’ series tout a balanced harmony of the minimalist form and natural colors, inducing the sense of comfortable empty space and essential circularity. The works clearly show a trilateral form of the place, audience and the works.

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Width No.20 Oil color on korean paper, 214x150cm, 2007

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Width No.16 Oil color on korean paper, 214x150cm, 2007

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Width No.18 Oil color on korean paper, 214x150cm, 2007

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Width No.74 Oil color on korean paper, 214x150cm, 2008

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Width No.102 Oil color on korean paper, 214x150cm, 2009

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Width No.75 Oil color on korean paper, 214x150cm, 2008

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Width No.50 Oil color on korean paper, 214x150cm, 2007

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Width No.43 Oil color on korean paper, 214x150cm, 2007

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Width No.42 Oil color on korean paper, 214x150cm, 2007

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Width No.39 Oil color on korean paper, 214x150cm, 2007

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Width No.33 Oil color on korean paper, 214x150cm, 2007

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Width No.6 Oil color on korean paper, 214x150cm, 2007

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Scenery Oil color on plastic sheets, 2010 (installation view)

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Airwall Air tube, 2010 (installation view)

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Width Oil color on korean paper, 214x150cm, 2012 (installation view)

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Seung Un CHUNG

1963

Born in Kangjin, Korea

Education 1996

Meisterschueler (Professor : J. Kounellis)

1995~99

Kunstakademie Duesseldorf (Professor : J. Kounellis)

1990~94

Akademie der bildenden Kuenste Nuernberg (Professor : S. C. Colditz)

1982~89

B.F.A., Seoul National University

Solo Exhibitions 2012

Skyline, Gallery SoSo, Paju, Korea

2010

Skyline, Gallery Space, Seoul, Korea

2007

Perspective_Jip, Kkum, Sup, Gallery NooN, Seoul, Korea

2007

Close Perspective_Jip, Kkum, Sup, Gallery SoSo, Paju, Korea

2003

Gallery FISH, Seoul, Korea

2000

HORIZON, Project Space SARUBIA, Seoul, Korea

1997

STEPHAINIENSTRSSE 16, Dusseldorf, Germany

Selected Group Exhibitions 2007

Writing Painting, Painting Words, Seoul Museum of Art, Seoul, Korea

2006

Drawn to Drawing, Soma museum of art, Seoul, Korea

2005

Art & Mathematics Savina Museum, Seoul, Korea

2004 SPACE Seoul Museum of Art, Seoul Consonanance Haein-sa Sungbo Museum,

Hapchon Talking to the Wall, Marronier Art Center, Seoul, Korea

2003

The Lamentations of Chul Am, sadi gallery, Seoul, Korea

2002

Coming to Our House, project space Zip, Seoul, Korea

2001

Touch the Skull of Romanticism, Total Museum, Jangheung, Korea

1999

Chung Seung-un & Hwang ou-chul, Syocho Plastic Academy, Seoul, Korea

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Some Questions about ‘The Skyline’ of Seung Un CHUNG

When glancing at Seung Un Chung’ art works once, his works look like an assemblage of conceptual plastic vocabularies. In spite of the title of the exhibition informing that the art works are based on the motif of skylines, a feeling of tension is firstly aroused when looking at them. Due to their forms seemingly completed by following certain rules and the restrained way of expression, Chung’s skylines seem rather imprisoned in the materiality of plywood and the abstractness of geometrical shapes. Wondering if I should approach them emotionally or rationally in order to have a better appreciation, I start to have a doubt that there might be something that the artist himself is afraid of revealing, something that is hidden behind those precise shapes. For instance, the red and black brushstrokes applied on the long boxes made in plywood seem rather expressive at the first time. But when looking closely, you may find that each stroke was controlled carefully. Furthermore, the red and black colors are traditional red for stamp and Chinese ink. These colors made from natural sources are applied instead of pre-existing colors of paint tubes or artificial colors mixed on a palette. The Chinese ink is a conceptual color holding every range of colors inside. The traditional red for stamp is a mysterious red color used when writing amulets. Both of them have a presence that is much stronger and deeper than any other colors. Then, what is the meaning of the combination between these two; the geometrical shape of the hexahedrons where easily recognizable mountain ridges are represented and these ready-made-like colors? Besides, it is ambiguous to define the works hanging on the wall whether their forms are three-dimensional or two-dimensional. They follow a typical composition of painting: a skyline between land and sky, and the depth of landscape defined as the foreground, middle ground and background. But he built three-dimensional paintings displaying backward from the background to the foreground and enclosed them in a frame. If painting is a way of representing three-dimensional objects in two dimensions, in his works, he chose the composition and characteristics of painting in order to bring them back to three dimensions. How can we interpret this inversed process? The piece representing a mountain ridge and its shadow is rounded as a ¼ sphere on the corner where two walls meet. This installation is also a study on the three-dimensional space using a flat surface. While talking about this piece, Chung briefly mentioned about a work of Malevich presented in <The Last Futurist Exhibition of Paintings: 0, 10>, Petersburg, 1915. It seemed to me as an important point to understand Chung’s art work. He was interested in the way how Malevich’s ‘flat’ work representing squares floating in an absolute space was installed at a corner occupying a ‘three dimensional’ space rather than a surface of a wall. In a different way, his ¼ sphere piece also deals about the relationship between the two dimensions and space.

There are several questions in common occurring in the works presented in this exhibition; why is he so careful with his colors and brushstrokes? And why does he keep constantly applying two dimensional components into the three-dimensional space? The way of moderating or restraining colors and the characteristics of two dimensions are also used in another piece <Skyline> where thin painted strings are installed in a space drawing catenaries. Various colors are used in this installation. The artist laughed when he said ‘I should go through every process of painting, just like painting on a canvas.’ It seemed like he finally finds freedom to paint after minimizing the surface to paint till it becomes a thin string. His laugh seemed bursting out of recalling his secretive game which consists of voluntarily restraining himself. The artist’s attitude during the round table gathering people interested in his art work in order to review his works till 2009 seemed quite tolerant accepting the others’ comments rather than expressing strong likes or dislikes. But he sometimes revealed his thoughts on the process of making his work when someone asked him questions. For instance, he aims to create a unity of an art work and the space where

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Skyline 2012 (installation view)

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it is placed like a ‘mural painting’. Besides, ‘when painting, he always paints on canvas.’ but when it happens, ‘he worries about turning back to the past’. He would like to get away from the canvas, but he keeps turning back to it as he thinks that ‘the nature of the canvas is to support painting and the space of painting is the canvas.’ The artist’s direction to go for a work like a mural painting instead of using canvas composes a very important base to look for various questions that I have previously made. Besides the different possibilities of mobility, there is a big difference in terms of the origins and meanings between paintings on canvas and mural paintings. Leaving the Stone age’s ritualistic murals aside, the explanation given by Gaius Plinius Secundus(23~79) on the origin of painting created after the foundation of human civilizations allows us to understand thoughts of humans who express through paintings. According to Plinius’s ‘Historia Naturalis’, the origin of painting started from drawing the contour of humans’ shadow. The daughter of Butades, potter living in Corinth, fell in love with a young man. When he had to leave abroad due to a war, she casted light of a lamp on her lover’s face while he was sleeping. Then, she drew the outline of the shadow made by the lamp. This story is considered as a base to explain the origin of painting. It is obviously just a speculation of the ancient romans who tried to make everything as the fruit of the Greek and Roman civilizations. But it is possible to get the unchangeable concept of painting through this story, which is hard to distinguish rather it is a true story or a mythology. The story tells us that the beginning of painting is to paint an existing element on the related place, therefore, a mural painting related to a specific site. Canvas is a product invented during the period of Renaissance, 1400 years later since then. It matters more with the issues of art sponsoring and distribution besides the possibility of supporting more various colors than wooden panels or walls. It hasn’t been that long that painting started to travel. Also, it is within the last decades that the attempts to recover the ‘site specific’ character of painting have been being made in order to solve several problems of ‘no placeness’.

However, when looking at the works that he has shown till now, it is hard to consider Seungun Chung’s ‘mural-like-work’ as site specific works. Except the installation works (creating strong tension among objects by using the principle of keystone) made during his studies abroad and the piece installed at a house in Sinsa-dong, which triggered later the series of ‘House Dream Forest’, his works following the format of installations seem rather as the expression of his interests in abstractness of the three dimensional space. As even his installation works in variable dimensions carry out the possibility of expansion or reduction by its structure in modules, the comments on his intention aiming for a ‘mural-like-painting’ seem not very convincing, as a mural painting, by its nature, can’t be removed from or attached back on the wall. Therefore, more values should be attached to the ‘painting’ when thinking of a ‘mural painting’, rather than the word, ‘mural’. The series of ‘Skyline’, mostly taking the appearance of sculpture contain aspects of painting although they are not. Based on the characters of painting as color and two dimensional surface, they are carefully placed in the connection to the space arising an uncomfortable feeling as if familiar things seem betraying each other, in other words, like the restrained feeling of love. This uncomfortable feeling is felt in his work in general, which takes an attitude suppressing his temper given from the birth as an artist, separating from his usual past and betraying the expected comfortable feelings that reveal effortlessly. Besides, his anti-capitalist attitude prevents him to commercialize his work as a brand. He even betrays usual expectations from viewers. When reviewing his ‘skyline’ series through keywords such as betrayal, suppression, separation and recovery, they appear as paintings. These keywords are found from the format of his art work. However, the things that are unsaid here, for example, the contents rather than the formats, the romantic and nostalgic subjects such as ‘house’, ‘dream’, ‘forest’ and ‘skyline’ of mountains and cities draw a feeling of tension again encountering the format that the artist had selected. This feeling of tension is mostly pleasant instead of being anxious and it seems like the solid format of his work keeps his sweet and soft stories away from decaying. If I get to face his work again, I think I will be able to expect the beginning of a fun experience, as if I have just arrived in the station of a new destination from a long journey. _ Yoonie Lee(history of art)

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Skyline 2012 (installation view)

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SLOA002, SLOA003, SLOA001 Birch plywood, each 30x40x36cm, 2012 (installation view)

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Untitled Color on birch plywood, 30x30x120cm, 2012

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Untitled Birch plywood, 118.5x426cm, 2012 (installation view)

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Untitled Plywood, rectangular lumber, 252x227x706.5cm, 2012 (installation view)

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Skyline Mixed media, variable size, 2009

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Skyline Mixed media, variable size, 2009

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Untitled A string stained with ink, wood, variable size, 2007

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Untitled Styrofoam, plaster bandage, 30x48.5x30cm, 30x48.5x60cm, 30x48.5x90cm, 30x48.5x150cm, 2007

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Untitled Wood, 135x90x216cm, 2004

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Yun Soo KIM

1975

Born in Seoul, Korea

Education 2005

M.F.A. Graduate School of Sculpture Dept., Chung-Ang University, Seoul, Korea

1998

B.F.A. Dept. of Sculpture, College of Fine Arts, Chung-Ang University, Seoul, Korea

Solo Exhibitions 2011

The Bluest Scene, Gallery SoSo, Paju, Korea

2008

Ultramarine-Beyond The Sea, Project Space SARUBIA, Seoul, Korea

2005

Desert of Winds, DOS Gallery, Seoul, Korea

2004

Longing for Innocence, HYUNDAY Window Gallery, Seoul, Korea

2003

Longing for Innocence, SPACE MOM Museum of Art, Cheongju, Korea

2001

SAGAN Gallery, Seoul, Korea

Selected Group Exhibitions 2010

The Re-composition of Landscape, JEJU Museum of Art, Jeju, Korea

2010

Alive Gently, POSCO art museum, Seoul, Korea

2009

open studio by National Art studio, Goyang, Korea

2009

Beginning of New Era, construction Site of National Art Museum, Seoul, Korea

2009

Archive of Spirtual awakening, ZAHA Museum of Art, Seoul, Korea

2009

Propose 7-vol.4, KUMHO Museum of Art, Seoul, Korea

2009

Natural, SUNGKUK Art Museum, Seoul, Korea

2009

Fleeting, Museum of Art Seoul National University, Seoul, Korea

2008

Creation Anatomy, GYEONGGIDO Museum of Art, Ansan, Korea

2006

Softness, SOMA Museum of Art, Seoul, Korea

2006

Meditative Forest, SEOUL Museum of Art, Seoul, Korea

2004

Prize-Winner’s exhibition of Korea Young Artists Biennale, Daegu Culture & Arts Center, Daegu, Korea

2003

Water, SEOUL Museum of Art, Seoul, Korea

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Yun Soo Kim takes the motifs of yearning for the infinite world (space) beyond reality, and questions the boundary of visual space. By taking enormous amount of intensive labor as a self-reflective practice, it hazes the definitude of property of matter and language and body action also is revealed as a work that integrates that topic. She repeatedly winds and piles cardboard and vinyl sheets with usual objects and shapes of foot. Through these processes of work, those forms are disappeared and transformed. It may begin to resemble a massive mountain, or waves spreading in all directions. Whatever final form it takes, the work is the result of her repeated act. These simple shapes and her art attitude are minimal expression but it is lyrical and poetic. Yun Soo Kim’s works are similar to a metamorphosis of desert which always renews the shapes by wind. She may talks about only once only-beauty, this infinite landscape is created in horizon, winding the cardboards and overlapping the vinyl cuts. We could feel her mediation and perspective of thinking front of her transcendental and surrealistic landscape.

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Record of Scenery Ink on paper, 2010-2011 (installation view)

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I am walking in clouds on the Mountain Accumulating PVC / The Bluest Scene Acrylic on canvas, 2010-2011 (installation view)

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The Bluest Scene Accumulating PVC, wood, paint, 80×630×630cm, 2009-2010

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The bluest scene Accumulating PVC, 2011 (installation view)

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Longing for Innocence Accumulating PVC, 2003 (installation view)

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Longing for Innocence, Accumulating PVC, 2003 (detail)

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Desert of Winds Accumulating PVC, variable size, 2004-2005

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Project ‘Record of Scenery’ Ink on paper, 1999-

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Back-to-Back Tables(Project ‘Record of Scenery’) Mixed media, 30x230x92cm, 2009

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Black hole (Project ‘Record of Scenery’) 50 Sheets of print on Plexiglass Accumulation, 69x40x40cm, 1999-2003

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Zu Young CHUNG

1969

Born in Seoul, Korea

Education 1997

De Ateliers, Amsterdam, The Netherlands

Meisterschüler(by Prof. Jan Dibbets), Kunstakademie Düsseldorf, Düsseldorf, Germany

1992

BFA in Painting, Seoul National University, Seoul, Korea

Selected Solo Exhibitions 2011

‘Many’’All’’Here’, Gallery SoSo, Paju, Korea

2010

The Same Yet Different, Mongin Art Center, Seoul, Korea

2008

Zuyoung Chung, Gallery Bundo, Daegu, Korea

2007

Mountains Eternally Present, Gallery SoSo, Paju, Korea

2006

Mountains before Your Eyes, Gallery 175, Seoul, Korea

2004

Mountains on the Border, Gallery FISH, Seoul, Korea

2003

Floating on the Han River, Suka Art Space, Busan, Korea

2002

Zuyoung Chung, Artsonje Museum, Gyeongju, Korea

2000

Zuyoung Chung, Shinsegae Gallery, Gwangju, Korea; Shinsegae Gallery, Incheon, Korea

1999

Zuyoung Chung, Kumho Museum of Art, Seoul, Korea

Selected Group Exhibitions 2011

2010 New Acquisitions- Closer to Contemporary Art, Gyeonggi Museum of Modern Art, Ansan, Korea

2011

MoA invites 2011, Museum of Art, Seoul National University, Seoul, Korea

2011

Finding Flow, Jeju Museum of Art, Jeju, Korea

2010

21 & Their Times, Kumho Museum of Art, Seoul, Korea

2008 Inter-viewing Paintings: The Interface between Korean style Paintings and Western style Paintings, SOMA Museum of Art, Seoul, Korea 2008

Jinkyeong Revisited, United Nations, New York, NY, USA

2007 Reminiscing the Medium: A “post-“ Syndrome, Museum of Art, Seoul National University, Seoul, Korea 2007

Con-terminal, National Museum of Contemporary Art, Gwacheon, Korea

2007

Hommage 100: Korean Contemporary Art 1970~2007, Korea Art Center, Busan, Korea

2006

Ongoigisin, Daejeon Museum of Art, Daejeon, Korea

2005

The Seoul Art Exhibition 2005: Painting, Seoul Museum of Art, Seoul, Korea

2004

Vision 21, Museum of Sungshin Woman’s University, Seoul, Korea

2002

Korea Young Artists Biennale 2002, Daegu Culture and Arts Center, Daegu, Korea

2001

Representation of Representation, Sungkok Art Museum, Seoul, Korea

1999

Figurescape: 6 Artists from Korea, Space Untitled, New York, NY, USA

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In Search of an Archetype for Contemporaneity Chung’s body of work is a reflection of her attitude in attaining a real view of landscape as an artist, as well as a painterly translation of her wonderment at the phenomenon of encountering the eternal mountain, pre-existing in both Jeong Seon’s painting and in reality, beyond the scope of chronological time. An ontological approach to the ego facing this eternal mountain accompanied by such fleeting amazement leads to a recognition of the ego in the world and the ego in reality and then, in turn, the world and reality around the ego, extending towards an attempt to connect every being within it. At the basis of this attempt is where the recognition of reality and contemporaneity lies, stemming from corporal thinking and the experience of life. Chung’s performative act of intervening in the realistic and actual process of recognition embodies her ontological desire on a picture plane. These works represent a twenty-first century transfiguration of the initial impetus of True-View landscape painting of the eighteenth century. Chung attempts to pursue and recognize a view of nature that is “eternally present before your eyes” as well as “same yet different,” that is, the landscape as “a constantly vibrant kaleidoscopic archetype,” to locate it here and now, in the present. It is thus not “a mere representation of landscape,” but rather “a reinterpretation of the standpoint of True-View” and “a search for an archetype for contemporaneity.” _ Yunkyoung Kim

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Nam Mountain 3 Oil on linen, 180x200cm, 2007

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Dukyang Mountain 3, Dukyang Mountain 2 Oil on linen, each 220x190cm, 2007

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Nam Mountain 1 Oil on linen, 180x200cm, 2007

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Simhak Mountain 1 Oil on linen, 95x105cm, 2007

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The Same Yet Different 2010 (installation view)

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Bukak Mountain 4-2 Oil on linen, 210x190cm, 2009

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Bukak Mountain 4-1 Oil on linen, 210x190cm, 2009

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The Same Yet Different 2010 (installation view)

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Inwang Mountain 7 Oil on linen, 140x270cm, 2008

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Inwang Mountain 8-1, 8-2, 8-3 Oil on linen, each 145x135cm, 2008

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2.Apr.2005 Oil on linen, 115x100cm, 2010

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8.Nov.2004 Oil on linen, 115x100cm, 2010

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Exhibitions

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2007

Close Perspective Jip Kkum Sup Seung Un CHUNG’s solo exhibition The landscape Group exhibition (Min Kyung KAM, Choong Hyun ROH, Jeong Sun YOON) Long Slow Distance Hyung Gwan KIM’s solo exhibition Saeng Saeng Hwa Hwa Mountains Eternally Present

2008

Zu Young CHUNG’s solo exhibition

Gook Ji Jeon Gook IM’s solo exhibition Layer Group Exhibition (Kiwon PARK, Mi Hyun PARK, Byung So CHOI) Flower-less, Flower-like Group Exhibition (Myung Seop HONG, Soo Jung HAN) Level 1 - Art is a question of naegong Ho Eun SONG’s solo exhibition Traces of Cube Jeong Eun LIM’s solo exhibition A Mountain Chan Kyong PARK’s solo exhibition

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2009

The Man’s House Kyong Ju LEE’s solo exhibition Afterglow Hyung Gwan KIM’s solo exhibition A way of Self sonfession Group exhibition (Soon Young KWON, Yoo Yun YANG, Yuen Joo LEE, In Sook HONG) Monkey Theater Mileta Postic’s solo exhibition Jae Hwan JOO’s solo exhibition Hue of Breath Taek Sang KIM’s solo exhibition Nowwhere but everywhere Group exhibition (Young Seok OH, Woo Chul JUNG, Jeong Eun JEON)

2010

Gook IM’s solo exhibition Curtain Hai Young SUH’s solo exhibition In The Ragged Mountains Group exhibition (Armin Hartenstein, Zu Young CHUNG) Rhythm of illusion Sang Yuel YOON’s solo exhibition Instinctively Group exhibition (Hyung Gwan KIM, Kwang Ho LEE, In Hyeon LEE)

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2011

ok HONG)

Cow, Chicken, Dog, Pictures Eull KIM’s solo exhibition Many, All, Here Zu Young CHUNG’s solo exhibition Internal Angle Group exhibition (Kiwon PARK, Mi Hyeon PARK, Hai Young SUH, Seung Un CHUNG) Planet Jae Ho JUNG’s solo exhibition The Bluest Scene Yun Soo KIM’s solo exhibition A photographic exhibition Group exhibition (Philip Perkis, Tae Hee PARK, Young Gi SUH) A nightly walk Gi Soo KIM’s solo exhibition

2012

Cabbage, foot and Fukushima Yun Hee HUH’s solo exhibition Skyline Seung Un CHUNG’s solo exhibition Fancy Toys Gook IM’s solo exhibition Daydream Yoo Yun YANG’s solo exhibition LIGHTHOUSE Hyung Gwan KIM’s solo exhibition Caress Kwang Ho LEE’s solo exhibition Paths of Clues Group exhibition (Jung Bae LEE, Jin Ju LEE)

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published by Gallery SoSo Produced and published by Gallery SoSo, Paju, Korea, 2013 All images are courtesy of the Artist and Gallery SoSo. Gallery SoSo 413-700 / 1652-569, Heyri ArtValley, Beopheung-ri, Tanhyeon-myeon, Paju-si, Gyeonggi-do, Korea +82) 31 949 8154 soso@gallerysoso.com Hour : Tuesday to Sunday (11:00-18:00) www.gallerysoso.com www.heyri.net

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